#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Brazil, 1960s, City of God. The Tender Trio robs motels and gas trucks. Younger kids watch and learn well…too well. 1970s: Li’l Zé has prospered very well and owns the city. He causes violence and fear as he wipes out rival gangs without mercy. His best friend Bené is the only one to keep him on the good side of sanity. Rocket has watched these two gain power for years, and he wants no part of it. Yet he keeps getting swept up in the madness. All he wants to do is take pictures. 1980s: Things are out of control between the last two remaining gangs…will it ever end? Welcome to the City of God.
Plot: Buscapé was raised in a very violent environment. Despite the feeling that all odds were against him, he finds out that life can be seen with other eyes…
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Tall and Tan and Young and Packing
‘What are you doing, you’re just a kid?’ “I steal, I kill, I carry a gun, how can I be just a kid? I am a man.”
Many who visit Brazil the first time, tend to view Brazilians as lacking serious ambition. They seem to party the night away, and appear to seldom work. The old joke about Brazilians is that they have breakfast at 2:00 in the afternoon.
But such a narrow view does not take into account the fact that while we in America work to live, sweating away for pennies which the government steals at every turn, they in Brazil Live to Live. It is a different kind of living, a life that sambas with the vibrance of the swaying palm and the bounding drum. A life that understands that we are only on this earth for a cup of cafezinho, and we should have fun while we can before the end comes, but quick.
But as the City of God also shows us, Brazilian life is often nasty, brutish and short. A certain degree of anarchy overshadows all the denizens of the film. But Director Fernando Meirelles takes a situation lacking definite boundaries and clear authority, and creates a framework, a structure, that of Gang Rule. The gang-members are not seasoned, old-time criminals like Fredo Corleone or even Tony Montana. Instead, they are a bunch of sweet-faced kids. No one is older than 25, partly because of choice, but mainly because no one lives past this age.
On the surface, in this context, City of God is a coming of age story of two young people, a sort of Brazilian “Angels With Dirty Faces.’ One character escapes from the City of God, while the other succumbs to it.
But when one scratches beneath, one finds the film a comment on the morally bankrupt City of God in Rio De Janeiro, and a mirror on Brazil itself. Far away from the party hopping, Travel and Leisure postcard perfect white beaches, is another world, one of marauding bands of displaced children.
The most surprising thing about City of God is its references to American films. Most Brazilian films, as the films of all countries do, owe allegiance to their own particular cultural situation. Brazil owes a cultural debt to Europe (Portugal, Germany, Italy) and Africa. However, the United States has a far more distant cultural relationship to Brazil. That is where City of God triumphs to me an American film goer. It uses the chapter format made famous in Pulp Fiction and more recently, Kill Bill. It uses the familial structure present in Goodfellas. It uses the ‘white-suit cool’ present in Miami Vice and the Bacardi and cola ads from the preview before this very movie.
The fact that City of God can be subtitled Grand Theft Auto: Sao Paolo, is not a surprise nor a mistake. The film is built like a video game in its use of random acts of violence. But the fluid perfect camera work and editing give way to a film with enormous contradictions. Contradictions as large and as vast as the noble country itself.
Stylistically, the camera work does not conform to its premise as a gangster film. A gangster film never looked this good. It is as if the camera is released in the wide open beaches, and kicked around like one of Ronaldinho’s headers. It starts on the sand and moves steadily across. It picks up on the story but then heads into the sun. It then leaves us, the film-viewer, with the most indelible image in years as we see Sonia Braga (A world icon and sex symbol of Brazil)’s niece, sitting on the sun-drenched coast putting her arm around another young boy. The innocence conveyed in this scene is something to behold. It literally takes your breath away.
You see the slamming of different, competing themes. You see the subtlety and tranquility of the beach, smashed into scenes of battered youths dying on city streets. You see a wealth of hypnotic ambiguous images pulled together, much like the very Culture of Brazil itself.
The Best Film Ever Made
Before anyone says anything, hear me out. According to the IMDb Top 250 list, “The Godfather” reigns supreme as number one, while “City of God,” or more appropriately, “Cidade de Deus,” is at the number 17 slot. But to compare the two is like comparing an Arnold Schwartzenegger movie to “Crash.” They are just too different. But for me, while Francis Ford Coppolla’s 1972 film is rightly considered a masterpiece, “City of God” is more memorable and packs a bigger punch. That, and “The Godfather” has had 30 more years under its belt to gather its legendary status. And it’s in English (which, sadly, makes a lot of difference).
Now, “City of God.” What a rush! Fernando Meirelles’s masterpiece is a film to behold. Many critics have described films as “explosive” for the punch they pack, and/or the unflinching reality of the subject matter. But there has been no film I have ever seen that can match “City of God” for energy. It has so much energy that instead of unfolding, it throws itself at you all at once, leaving everything else to be done afterwards. The actors don’t act; they don’t have time. They just…are. Everything is done to such an extreme, it’s surprising that Meirelles manages to make none of it sensationalistic or exploitative.
Some people will tell you that this film is the chronicle of two drug lords. While there is some truth in that, the plot, if one could call it that, is better described as the chronicle of the “City of God” itself. Characters float in and out, with the “out” part frequently involving a bang (or more likely, a series of them). The characters are given background only if and when they are needed.
Like I said, there’s really no time to develop subtly-nuanced performances. The film moves with such breakneck energy that to do so would only slow it down. There are only a few characters that really matter. Rocket (Alexandre Rodrigues) is our window into the hellish slums. The result isn’t voyeuristic, instead Rocket is more like a guide (albeit with only the narration addressing the audience). He’s a normal teen, with interests in girls (particularly Angelica (Alice Braga)), sex, and aspirations to be a photographer. But his main goal is simply to survive each day. Also of note is Li’ Ze, who we see growing up with a taste for violence as a kid (kids shoot and kill people just as frequently, if not more so, than adults). His increasingly drug-addled brain and his ambition makes him more frightening by the minute. The only one who keeps him grounded and (relatively) under control is Benny (Phellipe Haagensen), the “coolest hood in the City of God.” There’s some truth in that statement, as spoken by Rocket. He’s the shed of brightness in this hellish city (though he’s no goody-two-shoes). Finally, there is Lil Ze’s rival, Knockout Ned (Seu Jorge), who has the film’s most notable character changes.
But this is Fernando Meirelles movie. He throws in everything he can think of, and then some. References to Tarantino are abound, and there are probably more, but Meirelles takes the energy level up so high that there’s no room for even a “please” or “thank you.” Desaturated colors. A constantly moving camera. Loud noises. An upbeat soundtrack (which is the film’s saving grace from becoming too grim). It’s all here.
People may not agree with me that this is the best film ever made, and that’s okay. I respect that. But make no mistake, it’s an unforgettable 130 minutes.
Original Language pt
Runtime 2 hr 10 min (130 min), 2 hr 15 min (135 min) (Toronto International) (Canada)
Genre Crime, Drama
Director Fernando Meirelles, Kátia Lund(co-director)
Writer Paulo Lins (novel), Bráulio Mantovani (screenplay)
Actors Alexandre Rodrigues, Leandro Firmino, Phellipe Haagensen, Douglas Silva
Country Brazil, France, Germany
Awards Nominated for 4 Oscars. Another 74 wins & 46 nominations.
Production Company Lumiere Productions
Sound Mix Dolby Digital, SDDS
Aspect Ratio 1.85 : 1
Camera Aaton 35-III, Zeiss Super Speed Lenses, Aaton A-Minima, Zeiss Super Speed and Angenieux HR Lenses, Aaton XTR Prod, Zeiss Super Speed and Angenieux HR Lenses
Laboratory Estúdios Mega, São Paulo, Brazil (digital intermediate), Megacolor, São Paulo, Brazil
Film Length (7 reels), 3,573 m (Sweden), 3,557 m (Switzerland)
Negative Format 16 mm (Eastman EXR 50D 7245, Kodak Vision 250D 7246, Vision 200T 7274, Vision 500T 7279), 35 mm (Eastman EXR 50D 5245, Kodak Vision 250D 5246, Vision 200T 5274, Vision 500T 5279)
Cinematographic Process Digital Intermediate (2K) (master format), Super 16 (source format), Super 35 (source format)
Printed Film Format 35 mm (spherical) (partial blow-up) (Kodak Vision 2383, Vision Premier 2393)